In Berkeley, California, the exhibition "Multiple Offerings" at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) brings a refreshing perspective to the life and work of Theresa Hak Kyung Cha. The showcase opens with a vibrant moment from her short film "Untitled (Trip & Theresa)" from the 1970s, where Cha's infectious smile and playful energy shine through as she engages with words on the wall behind her. This intimate portrayal of the artist serves to humanize Cha, often remembered for her tragic fate and the profound themes of migration and exile present in her work.
Curators Victoria Sung and Tausif Noor expertly highlight Cha's whimsical side by combining archival materials with her artworks, a collection gifted to BAMPFA by Cha's family in 1992. A notable piece, "Permutations" (1976), features six one-second clips of her sister Bernadette, arranged randomly into a ten-minute video, revealing Cha's knack for deadpan humor. Her works often play with visual and textual puns, exemplified in "Faire-Part" (1976), where the Korean character that resembles the English letter E is cleverly showcased.
Cha's artistic practice was deeply physical, as demonstrated through her engagement with various materials and performance art. Documentation from her performances, like "A Ble Wail" (1975), reflects influences from Korean shamanism, suggesting a connection to her homeland through bodily expression. This notion resonates with the experiences of diasporic Koreans, as shared by Mudang Jenn, a Korean-American shaman, emphasizing the significance of the body in maintaining ties to one's roots.
Her presence is felt throughout the exhibition, with her thumbprint in "Untitled (Poem to Mother and Father)" (1970s) and close-ups of her mouth in "Mouth to Mouth" (1975). Cha's voice, often incorporated into her work, creates an auditory thread that guides visitors through the exhibition. Recurring motifs, such as semi-transparent cloth and vessels, are also featured in her video installation "Exilée" (1980), reflecting on her first return to Korea and the emotional distance created by geography.
Cha's innovative approach to language as a medium is on full display. In "The Word" (1975), she explores the complexities of American identity through playful manipulation of the term "Americanism." Similarly, "Surplus Novel" (1980) presents a poem obscured in a porcelain bowl, inviting viewers to engage with its themes of racial objectification through its accompanying label.
For many, Cha's work was first encountered in her influential artist-book "Dictee" (1982), which has long resonated within Asian American artistic circles. "Multiple Offerings" not only deepens the understanding of Cha's playful engagement with language but also invites a renewed appreciation of her humanity, allowing audiences to connect with her legacy in a meaningful way.
The exhibition "Multiple Offerings" runs at BAMPFA until April 19, curated by Victoria Sung and Tausif Noor.